In Consciousness Explained, Dennett systematically deconstructs the notion of consciousness, emptying it of its central and essential features. He fails to recognize the self?intimating nature of experience, in effect reducing experiences to reports or judgments that so?and?so is the case. His information?processing model of meaning is unable to account for semantics, the way in which speakers and hearers relate strings of symbols to the world. This ability derives ultimately from our animal nature as experiencers, though culturally supplemented in (...) various ways. But Dennett, while successful in rebutting Cartesianism about the mind, fails to take into account our natural history. He claims descent from Wittgenstein in his philosophy of mind, but he shows awareness only of Wittgensteinian's demolition of the private object of experience and overlooks the equally Wittgensteinian theme of humans as products of nature. (shrink)

An interactive collaborative drawing ‘machine’ designed on the concept of a neural network, allowing participants to experience a shared creative process, using the principles of open-source and social networked communication through an analogue string system. The underlying concept of the String Neural Network is to introduce participants to the idea of collaborative-shared drawing practice, as a dispersed collective that alludes to Roland Barthes The Death of the Author (1967) whereby each participant plays an equal role as both viewer (...) and artist. Played out like a surrealist Exquisite Corpse game of consequences or as a piece of Haiku poetry, the drawing participants contribute marks, signs and signifiers to an open-content drawing, akin to the development of open-source software. The string network consists of five drawing table ‘nodes’ within a room/studio space measuring eight by eight metres square. Each node is linked to the other four via pulleys and washing lines, making it possible to peg a sheet of A4 paper to a line and winch it across to any one of the other nodes. The network system uses ten string connections between the five drawing tables, creating a pentagram within a pentagon neural network design. Representing the interconnected synapses and neurons of the brain, the role of each participant is that of cause and effect. A single instruction initiates a series of consequences that unfold in drawings, marks and patterns that are created whilst being hoisted simultaneously across the room in quick succession. The Neural String Network project was first set up in March 2012 to coincide with ‘DecodeRecode’, a telematic art project undertaken by students at MediaCityUK Salford University, as part of the centenary celebration of Alan Turing. Each participating student was given a single word drawn from the Turing theme, such as machine, brain, code and apple that were interpreted and communicated as a drawing by a collective consciousness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 30.1 (2006) 299-309 [Access article in PDF] Conscious Fiction Mary Clayton Coleman Bard College Consciousness and the Novel: Connected Essays, by David Lodge; 320 pp. Cambridge, Mass.: Harvard University Press, 2002, $24.95 boards, $16.95 paper. Fictional Minds, by Alan Palmer; 275 pp. Lincoln and London: University of Nebraska Press, 2004, $45.00. Radiant Cool: A Novel Theory of Consciousness, by Dan Lloyd; 357 pp. Cambridge, (...) Mass.: The MIT Press, 2004, $24.95 boards, $14.95 paper. What contributions can fiction make to the representation and investigation of conscious experience? Might fiction help us to develop and advance new theories about the nature of consciousness? And might such theories, in turn, inform our understanding of the process of reading fiction? Three recent volumes—one by English critic and novelist, David Lodge; another by literary theorist, Alan Palmer; and a third by philosopher and (now) novelist, Dan Lloyd—raise these important, genre-bending questions, and they offer challenging if not always convincing answers to them. More generally, these volumes make valuable contributions to the fruitful cross-pollination that has developed between philosophers, scientists, literary theorists, and novelists who are interested in the nature of consciousness.Lodge's new collection of essays is called Consciousness and the Novel: Connected Essays, and like all of the criticism he has written since the late eighties, this volume is intended for a general audience, not for [End Page 299] literary theorists. The title essay, "Consciousness and the Novel," is a revised version of the Richard Ellman Lectures in Modern Literature that Lodge gave at Emory University in 2001, and the other nine essays, all previously published, cover such topics as Howards End; the novels of Evelyn Waugh; The Letters of Kingsley Amis; Martin Amis's memoir, Experience; and the relationship between literature and criticism. I will focus on "Consciousness and the Novel."Lodge's thesis in this essay is that novels play an essential role in our exploration of the nature of human consciousness. This thesis is certainly true, but it is also entirely banal. Much more interesting is what Lodge says in support of it. He argues that because of the unique representative possibilities of the novel, conscious experiences can be represented more effectively in novels than they can be in scientific writing. Taken literally, as an assertion about the relative representational power of novels and scientific discourse, this is extremely implausible. However, taken more loosely—as an invitation to those of us interested in consciousness to take a closer look at the ways conscious experiences are represented in novels—Lodge's claim is sensible and appealing. I will consider the literal reading of Lodge's claim first and then turn to the looser one.It is undoubtedly true that, as a whole, novelists devote more energy to representing conscious experiences than writers of scientific discourse do. However, science writers can use whatever techniques best serve their aims, including the aim of describing conscious experiences, so there is no reason to think that conscious experiences can, in principle, be represented more effectively in novels than in broadly scientific discourse. Given that Lodge discusses such creative science writers as Antonio Damasio, Daniel Dennett, and Steven Pinker in the course of his essay, it is surprising and disappointing to find him caricature scientific writing in the following way: "science... is a third-person discourse. The first-person pronoun is not used in scientific papers. If there were any hint of qualia in a scientific paper... it would be edited out" (p. 11). Qualia are the supposedly subjective qualitative aspects of conscious experiences. How the plucked string of a cello sounds to you; how the rotting fish in the garbage smells to you; and how it feels for you to inch down into the smooth, almost-too-hot water of a perfect bubble bath—these are all (supposedly) examples of qualia. Lodge is simply mistaken when he says that there is no hint of qualia in scientific writing. There is no consensus about whether qualia can be explained scientifically. In fact, there is no consensus about whether they exist. [End Page... (shrink)

Abstract:In the pedagogy of Western classical string music, creativity is often viewed according to the works of luminary composers, suggesting the question: how might string teachers, students, and musicians conceive of creativity? After problematizing standard definitions and ontological ideas of musical creativity, I outline an open model using the poststructuralist philosophy of Deleuze and Guattari. Expanding upon Deleuze and Guattari’s idea of mapping and tracing, this open model describes creativity as a continual process of exploration and rethinking, with (...) or without full understanding of the paths of previous luminaries in the domain of Western classical music. The model further suggests that creativity might blossom from the soil of individual and group experience, regardless of expertise level, according to two conditions: awareness and imagination. Awareness describes the consciousness of creating using available materials, regardless of intention; imagination is defined as the difference between repeating what is and having the curiosity, willingness, and excitement to burst forth towards the possibility of what might be. In conclusion, this paper considers how this model might work in practice, considering especially how an open model might work alongside a pedagogy of systematic string technique. (shrink)

Throughout the ages, the mystery of what happens when we die and the nature of the human mind has fascinated humankind. In this collection of essays, leading scientists and authors contemplate the nature of consciousness, quantum mechanics, string theory, dimensions, space and time, non-local space, the hologram, and the effect of death on the consciousness"--Provided by publisher.

Learners are able to use 2 different types of knowledge to perform a skill. One type is a conscious mental model, and the other is based on memories of instances. The authors conducted 3 experiments that manipulated training conditions designed to affect the availability of 1 or both types of knowledge about an artificial grammar. Participants were tested for both speed and accuracy of their ability to generate letter sequences. Results indicate that model-based training leads to slow accurate responding. Memorybased (...) training leads to fast, less accurate responding and highest achievement when perfect accuracy was not required. Evidence supports participants’ preference for using the memory-based mode when exposed to both types of training. Finally, the accuracy contributed by model-based training declined over a retention interval. (shrink)

A common view holds that consciousness is needed for knowledge acquired in one domain to be applied in a novel domain. We present evidence for the opposite; where the transfer of knowledge is achieved only in the absence of conscious awareness. Knowledge of artificial grammars was examined where training and testing occurred in different vocabularies or modalities. In all conditions grammaticality judgments attributed to random selection showed above-chance accuracy , while those attributed to conscious decisions did not. Participants also (...) rated each string’s familiarity and performed a perceptual task assessing fluency. Familiarity was predicted by repetition structure and was thus related to grammaticality. Fluency, though increasing familiarity, was unrelated to grammaticality. While familiarity predicted all judgments only those attributed to random selection showed a significant additional contribution of grammaticality, deriving primarily from chunk novelty. In knowledge transfer, as in visual perception , the unconscious may outperform the conscious. (shrink)

Our interest focusses on the idea, that consciousness is a powerful acting entity. Up to now there does not exist a scientific concept for this idea. This is not due to problems within the field of psychology or brain research, but rather in resisting theories of modern physics. That is, why we have to search for a solution in the field of physics. A solution can be found in a new understanding of the basics of physical theory. That could (...) be given by abstract and absolute quantum bits of information. To avoid the popular misunderstanding of “information” as “meaningful” it was necessary to find a new word for the free-of-meaning AQI bits: the AQI bits establish a quantum pre-structure termed “Protyposis”, out of which real objects can be formed, starting from energetical and material elementary particles. The Protyposis AQI bits provide a pre-structure for all entities in natural sciences. They are the basic entities, whereof the physical nature of the brain, on the one hand, and the mental nature of consciousness, on the other hand, were formed during the cosmological and the following biological evolution. A deeper understanding of quantum structures may help to overcome the resistance against quantum theory in the field of brain research and consciousness. The key for an understanding is the concept of Protyposis, which means an abstract quantum information free of any definite meaning. With the AQI bits of the Protyposis, both, massless and massive quantum particles can be constructed. Even quantum information with special meanings, in example grammatically formulated thoughts, eventually could be explained. As long as the fundamental basis of quantum theory is misunderstood as being formed by a manifold of some small objects like atoms, quarks, or strings, the problem of understanding consciousness has no solution. If instead we understand quantum theory as based on truly simple quantum structures, there would be no longer fundamental problems for an understanding of consciousness. (shrink)

William C. Dell teaches us to move our imaginations beyond the bounds of ordinary space time into the realm of eternal Zen consciousness, of the endless process of Zen deconstructing.

We are currently witnessing the emergence of a ‘third culture’, driven by unprecedented developments that are changing the playing field. These include advances in AI, big data analysis and robotics. The traditional ‘two cultures’ view (S. P. Snow) distinguishes between the sciences and the humanities. The wisdoms these two cultures offer are separated from each other, with little to no interaction or mutual comprehension. However, over the past two decades, and for the first time in human history, a new, third (...) culture has appeared. This new culture, rooted in new technologies, not only pursues its own form of rationality but also supports advances in the original two cultures, deepening and expanding our individual and collective consciousness so that we can see more and do better. It will eventually give rise to new forms of consciousness based not on biochemical signals, but on copper wires and lithium chips. These new machine intelligences will change the world and force us to realise: we are no longer alone. The human species’ position in the twenty-first century will be fundamentally redefined: not as a conductor leading the orchestra, but a single string player within it. (shrink)

In the third Whitehead Psychology Nexus Studies, we have discussed (i) the dual-aspect-dual-mode proto-experience (PE)-subjective experience (SE)framework of consciousness based on neuroscience, (ii) its implication in war, suffering, peace, and happiness, (iii) the process of sublimation for optimizingthem and converting the negative aspects of seven groups of self-protective energy system (desire, anger, ego, greed, attachment, jealousy, and selfishlove)into their positive aspects from both western and eastern perspectives (Vimal, 2009b). In this article, we summarize the recent development since then as (...) follows. (1) In (Vimal, 2010), we rigorously investigated the classical and quantum matching and selection processes for precisely experiencing a specific SE in a specific neural-network. (2) In (Vimal, 2009i), we unpacked the quantum view of superposition related to the superposition-based hypothesis H1 of our framework in terms of subquantum dual-aspect primal entities (bhutatmas) and addressed the related explanatory gaps. (3) We developed alternative hypotheses of our framework, namely, the superposition-then-integration-emergence based H2, the integration-emergence based H3, the intelligent mechanism based H4, and the vacuum/Aether based H5. We concluded that our framework with H1 is the most optimal one because it has the least number of problems (Vimal, 2009j). (4) We found over 40 different but overlapping meanings attributed to the term ‘consciousness’ and suggested that authors must specify which aspect ofconsciousness they refer to when using this term to minimize confusion (Vimal, 2009f). (5) We proposed definitions of consciousness, qualia, mind, and awareness (Vimal, 2009h). (6) We investigated the necessary ingredients for access (reportable) consciousness: wakefulness, re-entry, attention, working memory and so on (Vimal, 2009g). (7) We discussed Nâgârjuna’s philosophy of dependent co-origination with respect to our PE-SE framework (Vimal, 2009a). (8) We linked dynamic systems theory and fractal catalytic theory with standard representation theory using our framework (Vimal, 2009d). (9) We introduce the PE-SE aspects of consciousness in theoretical classical and quantum physics including loop quantum gravity and string theory (Vimal, 2009k). (10) In (Vimal, 2009c), we proposed that the SE of subject or ‘self’ in self-related neural-network is tuned to the self-related SEs/PEs superposed in other innumerable entities during samadhi state via matching and selection processes. This leads to bliss, ecstasy, or exceptionally high degree of climax at samadhi state. We conclude that, so far, the dualaspect-dual-mode PE-SE framework with hypothesis H1 is the most optimal framework for explaining our conventional reality because it has the least number of problems. Keywords: Evolution of consciousness; Internal representation; Sensorimotor interaction; Dual-aspect model; Subjective experience; Protoexperiences, Explanatory gap; Mind-brain problem; Purusha; Prakriti; Eastern and Western perspectives; Yoga; Sublimation process; Whitehead; Process and Reality; Occasions of experience; Superposition; Subquantum dual-aspect primal entities (bhutatmas); Superposition-then-integration-emergence; Integration-emergence; Intelligent mechanism; Vacuum/Aether; qualia; Mind; Awareness; Nâgârjuna; Classical and quantum physics; Loop quantum gravity; String theory. (shrink)

In the third Whitehead Psychology Nexus Studies, we have discussed (i) the dual-aspect-dual-mode proto-experience (PE)-subjective experience (SE)framework of consciousness based on neuroscience, (ii) its implication in war, suffering, peace, and happiness, (iii) the process of sublimation for optimizingthem and converting the negative aspects of seven groups of self-protective energy system (desire, anger, ego, greed, attachment, jealousy, and selfishlove)into their positive aspects from both western and eastern perspectives (Vimal, 2009b). In this article, we summarize the recent development since then as (...) follows. (1) In (Vimal, 2010), we rigorously investigated the classical and quantum matching and selection processes for precisely experiencing a specific SE in a specific neural-network. (2) In (Vimal, 2009i), we unpacked the quantum view of superposition related to the superposition-based hypothesis H1 of our framework in terms of subquantum dual-aspect primal entities (bhutatmas) and addressed the related explanatory gaps. (3) We developed alternative hypotheses of our framework, namely, the superposition-then-integration-emergence based H2, the integration-emergence based H3, the intelligent mechanism based H4, and the vacuum/Aether based H5. We concluded that our framework with H1 is the most optimal one because it has the least number of problems (Vimal, 2009j). (4) We found over 40 different but overlapping meanings attributed to the term ‘consciousness’ and suggested that authors must specify which aspect ofconsciousness they refer to when using this term to minimize confusion (Vimal, 2009f). (5) We proposed definitions of consciousness, qualia, mind, and awareness (Vimal, 2009h). (6) We investigated the necessary ingredients for access (reportable) consciousness: wakefulness, re-entry, attention, working memory and so on (Vimal, 2009g). (7) We discussed Nâgârjuna’s philosophy of dependent co-origination with respect to our PE-SE framework (Vimal, 2009a). (8) We linked dynamic systems theory and fractal catalytic theory with standard representation theory using our framework (Vimal, 2009d). (9) We introduce the PE-SE aspects of consciousness in theoretical classical and quantum physics including loop quantum gravity and string theory (Vimal, 2009k). (10) In (Vimal, 2009c), we proposed that the SE of subject or ‘self’ in self-related neural-network is tuned to the self-related SEs/PEs superposed in other innumerable entities during samadhi state via matching and selection processes. This leads to bliss, ecstasy, or exceptionally high degree of climax at samadhi state. We conclude that, so far, the dualaspect-dual-mode PE-SE framework with hypothesis H1 is the most optimal framework for explaining our conventional reality because it has the least number of problems. Keywords: Evolution of consciousness; Internal representation; Sensorimotor interaction; Dual-aspect model; Subjective experience; Protoexperiences, Explanatory gap; Mind-brain problem; Purusha; Prakriti; Eastern and Western perspectives; Yoga; Sublimation process; Whitehead; Process and Reality; Occasions of experience; Superposition; Subquantum dual-aspect primal entities (bhutatmas); Superposition-then-integration-emergence; Integration-emergence; Intelligent mechanism; Vacuum/Aether; qualia; Mind; Awareness; Nâgârjuna; Classical and quantum physics; Loop quantum gravity; String theory. (shrink)

Philosophers, theologians, physicists, and psychologists join their efforts to reflect on the crucial issues of limit and infinity, time and eternity, empty space and material space. The volume offers an invaluable contribution to some of the most important issues of our times: questions on God and consciousness are discussed in parallel with quantum theory, black holes, the inflationary universe, the Big Bang, and string theory, from different perspectives and angles, ranging from neuroscience to AI.

According to Bickerton, the behavioral sciences have failed to give an adequate account of human nature at least partly because of the conjunction and mutual reinforcement of two widespread beliefs: that language is simply a means of communication and that human intelligence is the result of the rapid growth and unusual size of human brains. Bickerton argues that each of the properties distinguishing human intelligence and consciousness from that of other animals can be shown to derive straightforwardly from properties (...) of language. In essence, language arose as a representational system, not a means of communication or a skill, and not a product of culture but an evolutionary adaptation. The author stresses the necessity of viewing intelligence in evolutionary terms, seeing it not as problem solving but as a way of maintaining homeostasis - the preservation of those conditions most favorable to an organism, the optimal achievable conditions for survival and well-being. The term protolanguage is used to describe the stringing together of symbols that prehuman hominids employed. "It did not allow them to turn today's imagination into tomorrow's fact. But it is just this power to transform imagination into fact that distinguishes human behavior from that of our ancestral species, and indeed from that of all other species. It is exactly what enables us to change our behavior, or invent vast ranges of new behavior, practically overnight, with no concomitant genetic changes." Language and Human Behavior should be of interest to anyone in the behavioral and evolutionary sciences and to all those concerned with the role of language in human behavior. (shrink)

ABSTRACT Adverbialism is the view that to have a conscious perceptual experience is to be consciously experiencing in a certain way, and that this way is not to be understood in relational or representational terms. We might compare what it is for a conscious being to be experiencing in a certain way with what it is for a string to be vibrating in a certain way. This paper makes a new case for adverbialism by appealing to the fact that (...) we can pick out ways of experiencing by treating them as information-bearing signals. In both presenting and defending the view, it will be crucial that information is not the same as representational content, but can still concern objects and the properties of those objects. The resulting information-theoretic adverbialism can answer or deflect the most influential objections to adverbialism. (shrink)

Adverbialism is the view that to have a conscious perceptual experience is to be consciously experiencing in a certain way, and that this way is not to be understood in relational or representational terms. We might compare what it is for a conscious being to be experiencing in a certain way with what it is for a string to be vibrating in a certain way. This paper makes a new case for adverbialism by appealing to the fact that we (...) can pick out ways of experiencing by treating them as information-bearing signals. In both presenting and defending the view, it will be crucial that information is not the same as representational content, but can still concern objects and the properties of those objects. The resulting information-theoretic adverbialism can answer or deflect the most influential objections to adverbialism. (shrink)

Harry Collins is a science studies scholar no other description fits without qualification who has contributed enormously to the discussion of tacit knowledge. Collins says that he is providing an account for the ontologically bashful, meaning, presumably, that it does not carry the burdens of Durkheim's notion of the collective consciousness. Polanyi says that 'a wholly explicit knowledge is unthinkable'. Collins wants to translate this into 'strings must be interpreted before they are meaningful'. Somatic limits are the source of (...) the mystery element of tacit knowledge. In fact, machines can be programmed to do the things it involves, although they will do it in a different way. In Social Cartesianism, the individual is not the unit of analysis: the individual merely shares the collectivity's knowledge. Collins point in these contexts is that functional substitutability implies nothing about similarity in underlying causal structure. (shrink)

This paper introduced the letter insertion and letter deletion tasks. In these tasks participants are presented with letter strings and are instructed to insert or delete a letter to create a word. Experiment 1 demonstrated facilitation priming and established these tasks as sensitive indirect measures of memory. Experiments 2 and 3 demonstrated interference priming effects. In Experiment 4 the process dissociation paradigm was applied to investigate the contributions of automatic and consciously controlled processes to performance on the letter insertion task. (...) In addition, performance in the exclusion condition demonstrated an interference effect caused by automatic retrieval. Potential applications for the letter insertion and letter deletion tasks are discussed. (shrink)

The influence of prior familiarity with components on the implicit learning of relations was examined using artificial grammar learning. Prior to training on grammar strings, participants were familiarised with either the novel symbols used to construct the strings or with irrelevant geometric shapes. Participants familiarised with the relevant symbols showed greater accuracy when judging the correctness of new grammar strings. Familiarity with elemental components did not increase conscious awareness of the basis for discriminations but increased accuracy even in its absence. (...) The subjective familiarity of test strings predicted grammaticality judgments. However, prior exposure to relevant symbols did not increase overall test string familiarity or reliance on familiarity when making grammaticality judgments. Familiarity with the symbols increased the learning of relations between them thus resulting in greater familiarity for grammatical versus ungrammatical strings. The results have important implications for models of implicit learning. (shrink)

In the field of biosemiotics in our time, Ferdinand de Saussure's theory of semiology has been dismissed for its glottocentric, anthropocentric, and dyadic characteristics and as such unsuitable for the said field. Such accusation is symptomatic of an extremely narrow view of Saussure, which ignores the efforts he made in tackling problems concerning the unification of biology and semiotics . A broader view of Saussure, emerging from the newly-discovered orangery manuscripts along with his thought-provoking course lectures, reveals that his epistemology (...) is actually grounded in evolutionary differences and the concept of uniformitarianism. In order to demonstrate the value of his ideas, this paper proceeds through five sections. To begin with, the understandings and misunderstandings of key terms are summarized while seeking to reconcile arbitrary and relatively arbitrary modes of consciousness within the network of differences that Saussure proposes in his manuscripts. My study points out how such a network blurs disciplinary or systematic boundaries between language and non-verbal systems and how it might serve as a framework for appreciating true analogies between natural sciences and the science of language. The paradox of analogy, torn between the synchronic and diachronic schemes of time, is discussed. This unravels several strings that have made the functioning of analogy into such a delicate point in Saussure's theory of evolution. The concept of état de langue is made comprehensive in relation to appropriations of Darwinian model and Neo-Darwinian ideas. Saussure's model of evolution explicates the phenomenon of symbiogenesis, which is non-linear, non-adaptive, non-restrictive as regards localities, yet claims certain truths about nature and culture. Finally, my study draws attention to the implications of conceptualizing non-linear evolution within and across systems. There are indeed disparities between Saussure's epistemology and that of biosemiotics: nineteenth-century confused epistemology reoccurred within biosemiotics in its early phase. (shrink)

Perceptual load plays a critical role in identification and awareness of stimuli. Given the differences in emotion–attention interactions, we investigated the perception of distractor emotional faces in two different load conditions under divided attention with a task based on the inattentional blindness paradigm. Participants performed a low- or high-load task with a string of letters presented against a happy, sad or neutral face (in a circular form) as the background. Participants were asked to identify the face that appeared in (...) the critical trial. Results indicate an interaction between emotion and load. First, identification of faces with happy expression was better than chance and unaffected by load. Second, performance was worse than chance for faces with sad expression in the high-load condition, indicating inhibition of unattended sad distractor faces in the critical trial. This indicates that inhibitory processes during a difficult attentional task under divided attention influence subsequent perception of distractor stimuli especially sad faces. The results have implications for the theories of selective attention as well as the role of emotions in conscious perception. (shrink)

This article addresses the question of the mechanisms of the emergence of structure and meaning in the biological and physical sciences. It proceeds from an examination of the concept of intentionality and proposes a model of intentional behavior on the basis of results of computer simulations of structural and functional self-organization. Current attempts to endow intuitive aspects of meaningful complexity with operational content are analyzed and the metaphor of DNA as a computer program (the `genetic program') is critically examined in (...) relation to an alternative metaphor of DNA as data. It is argued that relatively simple networks of boolean automata can classify and recognize patterns of binary strings on the basis of non-programmed, self-generated criteria, but lack a capacity for self-observation and interpretation. To overcome this problem it is necessary to clarify the relationships between the goals and underlying mechanisms of a process and between a system and its environment. It will be shown that memory devices that record the histories of interactions are essential for models of conscious and unconscious intentional behavior and that the possibility of infinitely sophisticated - and therefore unprogrammable - machines cannot be avoided. It will be argued that the notion of infinite sophistication allows the ideas of self-organization and physical determinism to be reconciled. These models will be used to suggest how the voluntary aspect of decision-making in general can emerge out of functional self-organizing processes. The conclusion will introduce the notion of `underdetermination' of theories, which imposes an intrinsic limitation on models of complex natural systems - a limitation that, at the same time, may be precisely what makes possible mutual understanding and intersubjectivity. (shrink)

In response to concerns with existing procedures for measuring strategic control over implicit knowledge in artificial grammar learning , we introduce a more stringent measurement procedure. After two separate training blocks which each consisted of letter strings derived from a different grammar, participants either judged the grammaticality of novel letter strings with respect to only one of these two grammars , or had the target grammar varying randomly from trial to trial which required a higher degree of conscious flexible control. (...) Random variation in the colour and font of letters was introduced to disguise the nature of the rule and reduce explicit learning. Strategic control was observed both in the pure-block and mixed-block conditions, and even among participants who did not realise the rule was based on letter identity. This indicated detailed strategic control in the absence of explicit learning. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Memoriam: Eleanor V. Stubley (1960–2017)Roberta LambIt is dusk in the desert—that bewitching hour when the intensity of today’s unrelenting heat suddenly lifts with the hint of a breeze and a promise of darkness. Worn and weary with dust trailing my every movement, I am inexorably drawn forward by the distant sounds of drums and community. I am curious to see what lies ahead, but for one brief minute (...) I look back from where I have come. A single window penetrates the gloom. It opens on a small room, cluttered with mementos celebrating a long history of great artistry. I feel the weight of this history, even at this distance; but what captures my attention is the music making in the only uncluttered corner of the room where four musicians are poring over a recently discovered score of a late Beethoven string quartet. While the music making appears to be motivated and bound by the score, it is as if the musicians are searching for something that lies beyond the score. At times, the searching seems to question the shape or presence of a particular note or melodic motive; other times, it appears to be a quest for “the work,” the string quartet written by Beethoven. As I continue to eavesdrop, I am struck by the way in which the searching in both instances ultimately seems to evolve into a question of ensemble. It is as if the musicians are not only trying to discover the music implied by [End Page 203]the score notations, but also trying to find themselves, trying to get a sense of who they are in relationship to this music. It is a phenomenon that I have encountered frequently in my travels, and I wonder, as the sounds in the distance reenter my consciousness, why of all possibilities the window of my mind opened on this particular room.1Thus, Eleanor V. Stubley began a moving evocation of body, sound, and shifting identities in philosophical argument. It remains my favorite opening of any philosophical essay I have ever read, even though her skill and artistry grew immensely in the subsequent nineteen years. To be honest, the connection with this particular essay comes from my bond with Eleanor at a particular time and particular place, when each of us was establishing our career in a recognized university. We shared a lot through extensive phone calls and my visits to Montreal. While Eleanor was able to travel, we also shared conference spaces together, when I often functioned as her advocate as well as her friend. As I re-read this essay and the others, I remember fondly particular conversations where we discussed ideas and feelings about music, teaching, and life. We shared our health challenges and their effects on our lives and work. We talked about being female in the academy; she shared issues around disability; I around homophobia. I see sources in the endnotes for this essay resulting from those conversations and the ideas Eleanor worked out as we chatted. I find similar memories in her other philosophical essays. I am happy to have contributed to the thinking that came out of this heady time. We were slaying dragons!Eleanor (and I must be personal because we were friends) contributed an original and strongly philosophical base to music education within a handful of articles. She never wrote the book she intended in those earlier years. Instead, she refocused her career outside of music education, partly because she realized she had much to say, do, and create within a limited lifespan and partly because music education did not have room for such brilliance and creativity. In fact, music education gave Eleanor a not so gentle shove. She worked nearly all of the last two decades of her life in the departments of musicology and performance. In addition, she served McGill’s students as Associate Dean of Graduate Studies. She knew she had no time to slay music education’s dragons. Even so, Eleanor continued to contribute philosophical columns to the Canadian Music Educator. She wrote regularly for volumes 42–44 (2001–2003) and intermittently before and after those years. These thirteen columns... (shrink)

This paper systematizes the word search potential of DreamBank.net by formulating and testing a set of word strings that can be used as default analytic categories in future investigations. The word strings are applied to the 981 dream reports of college students gathered by Hall and Van de Castle and the 136 dream reports of an 80-year old male gathered by Bulkeley . The results show a basic compatibility with the frequencies identified by Hall and Van de Castle’s labor-intensive method (...) of content analysis employing teams of human coders. These findings support the expanded use of word search technologies for the scientific study of dream content and its relation to forms of waking consciousness. (shrink)

In his essay, “Making Music Together,” Schutz provided insight into the social interactions between all participants in the musical process, including composer, performers, and listeners. The key concept in Schutz’s essay is the “mutual tuning-in relationship,” which encompasses the relationship between I and Thou, to form a We Presence. Schutz examined the structure of the mutual tuning-in relationship, which he said, “originates in the possibility of living together simultaneously in specific dimensions of time”. During the mutual tuning-in process, members of (...) an ensemble merge into each other’s stream of consciousness. This paper is based on phenomenologically-influenced research conducted at the Cleveland Institute of Music in collaboration with the Cavani String Quartet. The members of the Cavani Quartet teach several specific rehearsal techniques to their students which enable formation of a We Presence. The paper summarizes Schutz’s structures of the mutual tuning-in process and provides illustrations from the research findings which deepen our understanding of the mutual tuning-in process. (shrink)

This article summarizes the history of the Bulgarian Orthodox Church after 1989 in the context of the post-communist situation. It highlights some of the changes that have taken place in the religious consciousness of Bulgarian people. Absurdity is the key concept. A string of absurd events are discussed; they are viewed as representative of the ambiguous mentality characteristic of the transitional period that is under way in the post-communist societies of Eastern Europe.

The World abounds with infinite crimes, technogenic accidents, acts of nature, etc. And very often, speaking about infringement of laws, use a word "anarchy". In consciousness of one people this concept associates with fear, personifies something mad, uncontrollable, and not giving in to the control. In consciousness ofothers - it means permissiveness, impunity for any acts and even crimes. The philosopher, in my opinion, is the avocate of a historical value and validity. And consequently it is necessary to (...) observe these principles in relation to any concept or the theory. The philosophical, political doctrine of anarchism sets as the purpose clearing of the person of pressure of any authorities and any forms of economic, political and spiritual authority. Aspiration to anarchy as thementality, meets already at cinics and in early christianity, and also in chiliastic sects of the Middle Ages. Occurrence of the philosophical theory of anarchism connect with names of German thinker Max Shtirner (Caspar Shmidt's pseudonym, 1806–1856), French philosopher Pierre-Joseph Prudon (1809 – 1865) and the largest theorists of this doctrine of Michail Bakunin and Peter Kropotkin. Humanistic value as a red string passes through all political doctrine of anarchism and, in my opinion, should be presented fairly in order to prevent substitution of concepts and with the purpose of observance of historical honesty. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Baudelaire’s Satanic VersesJonathan Culler (bio)Paul Verlaine was perhaps the first to declare the centrality of Baudelaire to what we may now call modern French studies: Baudelaire’s profound originality is to “représenter puissament et essentiellement l’homme moderne” [599–600]. Whether Baudelaire embodies or portrays modern man, Les Fleurs du mal is seen as exemplary of modern experience, of the possibility of experiencing or dealing with what, taking Paris as the exemplary (...) modern city, we have come to call the modern world. T. S. Eliot wrote, “Baudelaire is indeed the greatest exemplar in modern poetry in any language, for his verse and language is the nearest thing to a complete renovation that we have experienced. But his renovation of an attitude towards life is no less radical and no less important” [426]. And outside the field of literature we find such affirmations as Harold Rosenberg’s dating of “the tradition of the New” to Baudelaire, “who exactly one hundred years ago invited fugitives from the too-narrow world of memory to come aboard with him in search of the new” [11]. Baudelaire, writes another critic, “did more than anyone else in the nineteenth century to make the men and women of his century aware of themselves as moderns.... If we had to nominate a first modernist, Baudelaire would surely be the man” [Berman 132–33].There seems to be considerable agreement on this point, but, surprisingly, there is great difference of opinion about what it is that makes Baudelaire modern and worthy of special attention. Is it, as Albert Thibaudet and Walter Benjamin argue, that he was the first true poet of the city, the first to take the alienated experience of life in the modern city as the norm? Or is it, as Leo Bersani claims, that Baudelaire discovered and displayed the mobility of fantasy and of the desiring imagination? Or is it, as Paul de Man maintains, that Baudelaire invents modern self-consciousness about poetry itself, producing poems that allegorically expose the operations of the lyric?There are many competing accounts of what is most particularly modern and important about Baudelaire, but the one thing on which contentious critics seem to agree is that there is a side of Baudelaire that is of no interest today, that belongs to a bas romantisme and is the very antithesis of Baudelaire’s modernity, of Baudelaire the founder of modern poetry: this is the Baudelaire who invokes demons and the Devil. Most critics today pass over this in silence, but even those who explicitly address this Baudelaire seem to find him an embarrassment. Even the author of a book entitled The Demonic Imagination: Style and Theme in French Romantic Poetry begins his chapter on Baudelaire: “Baudelaire has, by now, ceased to interest us for the reasons which once appeared important: his diabolical Catholicism is a familiar, historical mode of sensibility which neither shocks nor has morbid appeal...” [Houston 85]. And Fredric Jameson distinguishes the modernist and the postmodernist Baudelaires—both worthy of our attention—from what he calls the “second-rate post-Romantic Baudelaire, the Baudelaire [End Page 86] of diabolism and of cheap frisson, the poet of blasphemy and of a creaking and musty religious machinery that was no more interesting in the mid-nineteenth century than it is today” [427].But Baudelaire called his collection “Les Fleurs du mal” and opens it with a poem that declares, “C’est le Diable qui tient le fils qui nous remuent [it’s the Devil who holds the strings that move us]” [OC 1: 5; FE 5]. Can this be dismissed as an irrelevancy—something mistakenly appended to this quintessentially modern poetry? That critics of such different orientations should agree in shunting aside the Satanic Baudelaire suggests that there is something worth investigating here, something disquieting and embarrassing, which may not in fact be merely trivial—which may complicate the story of modernity that has come to depend on Baudelaire as its originator. Perhaps the Satanic Baudelaire would tell us things about modernity we don’t want to know.Certainly the idea of the Devil seems fundamentally at odds with accounts of modernity. Even Christianity itself seems to... (shrink)

The repercussions of unconscious priming on the neural correlates subsequent cognition have been explored previously. However, the neural dynamics during the unconscious processing remains largely uncharted. To assess both the complexity and temporal dynamics of unconscious cognition the present study contrasts the evoked response from classes of masked stimuli with three different levels of complexity; words, consonant strings, and blanks. The evoked response to masked word stimuli differed from both consonant strings and blanks, which did not differ from each other. (...) This response was qualitatively different to any evoked potential observed when stimuli were consciously visible and peaked at 140 ms, earlier than is usually associated with differences between words and strings and 100 ms earlier than word-consonant string differences in the visible condition. The evoked response demonstrates a qualitatively distinct signature of unconscious cognition and directly demonstrates the extraction of abstract information under subliminal conditions. (shrink)

Extensive training with a musical instrument results in the automatisation of the bodily operations needed to manipulate the instrument: the performer no longer has to consciously think about the instrument while playing. The ability of the performer to automate operations on the instrument is due to sensorimotor mechanisms that can predict changes in the state of the body and the instrument in response to motor commands. But how strong are these mechanisms? To what extent can we alter the structure of (...) the instrument before they disappear? We performed an exploratory study to understand whether and how sensorimotor predictions survive instrument modification. We asked seven professional violinists to perform repertoire pieces and sight-reading exercises on four different violins: their own, a cheap violin, a small violin, and a violin whose strings had been put on in reverse order. We performed a series of quantitative investigations on performance intonation and duration, and on bowing gestures and errors. The analysis revealed that participants struggled adapting to the altered instruments, suggesting that prediction mechanisms are a function of instrument configuration. In particular, the analysis of bowing errors, intonation, and of performance duration suggested that the performance with the reverse violin was much less fluent and precise than the performer's own instrument; the performance with the small violin was also sub-standard though to a lesser extent. We also observed that violinists were differently affected by instrument modifications, suggesting that the capability to adapt to a new instrument is highly personal. (shrink)

The article is devoted to the problem of interpreting of the several consequences that derive from multi-world concepts of modern physics. The inflation scenario and the associated string landscape model are the objects of analysis. The reviewed multi-world concepts are exposed to presume the existence of a plenitude of various fundamental principles that govern the physics of one or another possible reality. The research is based on the hermeneutical method, comparative method, dialectical method, formal translation method, and scientific modeling (...) method. The author represents specifics of physical theories that claim to describe all possible worlds in the conclusions. In this regard, the issues of the status of “possible” and “impossible” worlds and practicable ways to determine them are discussed. The main result of the study is the justification that each type of world must correspond to a certain structure of consciousness defined by its basic physical principles. This possibly means that a unified “theory of everything” that includes all possible mathematical and physical fundamental structures cannot exist since every one of them determines a specific type of consciousness. (shrink)

Nick Dyer-Witheford and Greig de Peuter. Games of Empire: Global Capitalism and Video Games . Minneapolis: University of Minnesota Press. 2009. 320pp. pbk. $19.95 ISBN-13: 978-0816666119. In Games of Empire , Nick Dyer-Witheford and Greig de Peuter expand an earlier study of “the video game industry as an aspect of an emerging postindustrial, post-Fordist capitalism” (xxix) to argue that videogames are “exemplary media of Empire” (xxix). Their notion of “Empire” is based on Michael Hardt and Antonio Negri’s Empire (2000), which (...) characterizes the contemporary world order as a decentralized system of global economic, political, and economic power that transcends national boundaries. In the view of the authors, Hardt and Negri’s account sets itself apart from other analyses of international politics by offering a “comprehensive account of conditions of work, forms of subjectivity, and types of struggle in contemporary capital” (xx). Dyer-Witheford and de Peuter thus divide Games of Empire into three sections to reflect each of these aspects of Empire ’s argument, seeing their work as the first account to explore “virtual games within a system of global ownership, privatized property, coercive class relations, military operations, and radical struggle” (xxix). Books in the University of Minnesota Press’s Electronic Mediations series “explore the humanistic and social implications” of new technologies that spark “significant changes in society and culture, politics and economics, thinking and being.” That’s an abstract goal, and one that Games of Empire surely meets. Yet at times it can be difficult to understand exactly which specific intervention this book seeks to make. It is unclear whether the authors of Games of Empire see their work as an indictment of game scholars’ lack of attention to political economy, or whether it’s a work of political theory hoping to show that other disciplines should be paying more attention to the production and play of videogames. Because Dyer-Witheford and de Peuter don’t directly criticize previous political critiques of gaming—such as Edward Castronova’s exploration of the “porous membrane” allowing two-way traffic between virtual economies and those of the real world, or Alexander Galloway’s unraveling of control protocols in algorithmic design, or Ian Bogost’s idea of political procedural rhetoric—they sometimes leave the reader wondering how to situate the book in the broader discourse on games and politics, either separately or together. Thus, Games of Empire might best be seen as an introduction to the writings of Hardt and Negri for game players and designers, rather than as a text for communicating the basic concepts of game studies and design. It is neither a truly new theory of games or digital media, nor is it a new theory of Empire—and that’s not a criticism. It is instead an introduction to Empire through popular culture, as Zizek does for Lacan in Looking Awry . If one were teaching an introductory course on contemporary political theory, this book would offer obvious inroads into Negri and Hardt’s thinking for a number of reasons. Despite its radical ideological bent, the book isn’t off-putting to readers who don’t necessarily share the authors’ politics. It synthesizes complex ideas from difficult thinkers like Marx, Foucault, and Guattari while integrating modifications and critiques of Empire theory itself. And although the book is dense, sometimes feeling longer than it actually is (just over 200 pages), Games of Empire maintains a breezy readability by tightly coupling core concepts of Empire theory to well-known games and widely-publicized conflicts within the videogame industry. The first section of the book focuses on immaterial labor, the accumulation of “cognitive capital,” and the global process of manufacturing videogame consoles. It is significant for the authors that videogames began as hacker experiments within research institutes of the military industrial complex, programmed on stolen time, before becoming a commodity (7). This is the first in a string of examples showing how creative dissidence and conflict fuel the continuing evolution of Empire’s control. Dyer-Witheford and de Peuter explain that the videogame industry now constitutes an international production apparatus dominating both creative work in developed nations and manual labor in developing ones. Because game industries in the United States, Western Europe, and Japan are predominately non-unionized, they serve as an exemplary system for analyzing how global capital exploits contemporary intellectual work—including an excellent analysis of the “EA Spouse” scandal of 2004. On the side of the consumer, the authors argue that rabid “console races” that drive the industry forward from a technological perspective serve to structure gamer identity and combat piracy; later in the book, these machines offer a window into the worlds of Congolese coltan mining and electronic waste (222-224). In the second section, Dyer-Witheford and de Peuter move on to deep case studies of individual games to show how the most popular game genres embed imperial assumptions about conflict, exchange, and urban life. First they argue that military training games such as Full Spectrum Warrior —co-developed by university researchers, industry developers, and military contractors—contribute to the “banalization” of war, a subjective state wherein perpetual preparedness for war is accepted as a part of everyday life (100). Chapter five covers Michel Foucalt’s notion of “biopower,” the extension of capital accumulation to life itself. The authors argue that virtual worlds such as World of Warcraft , which take market capitalism as a given and force players into essentialist roles and racial antagonisms, are organized to maximize control and profit (often on the backs of virtual currency “farmers” in China and southeast Asia). Finally, they criticize the naïve assumption that humor and cynicism in the popular sandbox game franchise Grand Theft Auto offer any remedy to its racialized, violent content. Instead, such games indulge and normalize the fantasy of getting rich at any cost by keeping the realities of contemporary urban life and corporate greed at a safe distance (181). Part three of Games of Empire focuses on “games of multitude,” a preliminary attempt to escape from Empire’s order through alternate modes of videogame development and play. Multitude is defined dialectically, as “the engine and the enemy” of Empire (187). This is the most important, yet also most contradictory section of the text. It lays bare the process by which Empire and its media feed our creative and intellectual development to overabundance. At a certain point, the force of the multitude reaches such a level that it threatens the stability of Empire; however, instead of following Hardt and Negri’s utopian assumptions about the radical potential of the multitude, the authors here follow Paolo Virno’s warning that Empire is “very good at adopting apparently iconoclastic practices and utopian ideas as management techniques and revenue sources” (188). At every turn, advances in player configurative power provide new sources of revenue and advertising angles for the game industry. A disappointing shortcoming of these latter pages is the lack of truly new examples for radical resistance within game development. Instead, it turns out that the radical left seems satisfied with the same mild successes that the left-of-center also has celebrated: artist’s mods, virtual world activism, and critical counterplay within strategy- and wargames. Having been frequently cited by many authors before Dyer-Witheford and de Peuter, this idea of subversion or resistance through play feels tired and unpersuasive. It is unclear if the authors believe it is possible to embrace game design itself as a way of pursuing what they call “exodus” from Empire, or if an all-too-fashionable subversion is the only workable strategy. While the book does explore how the earliest independent game studios were eventually subverted and incorporated into the game industry proper, it doesn’t affirm or critique more recent non-commercial, DIY game development projects such as Klik-of-the-Month Club and Ludum Dare. Dyer-Witheford and de Peuter’s analysis of so-called “tactical games,” including the editorial works of La Molleindustria, leads to an even more ambivalent take on the contemporary design ecology. At the conclusion of his essay on “Countergaming,” Galloway asserts that avant-garde videogame artists “should create new grammars of action […] should create alternative algorithms” (Galloway 125). Yet Dyer-Witheford and de Peuter characterize works such as McDonald’s Video Game and Oiligarchy as didactic, suggesting that the role of radical political games might be “limited to that of agitprop” (199). They are concerned that games like those of Molleindustria rigidly structure the activities of their players in order to prove a point. Yet, despite their repeated assertion that the equation of greater interactivity with democratic digital liberation is flawed, the authors see potential in policy simulators that “allow players to edit or tweak” (202) their parameters in response to what Bogost has called simulation fever , the simultaneous drive toward and fear of simulation (Bogost 108). The possibility of practicing radical design is bucked, and early attempts at critical game development like those of Molleindustria’s seem to be relegated to the status of exceptions that prove the rule for player-centered exodus. Overall, there is one glaring question Games of Empire leaves unanswered: how exactly are videogames the “exemplary media” of Empire, and what are the implications of videogames being exemplary in this way? Presumably Dyer-Witheford and de Peuter want to avoid essentialist claims, so they’re not keen on following Wark’s desire to mark “the game’s difference from [legacy media] as something that speaks to changes in the overall structure of social and technical relations” (Wark 225). It is also unclear how the production apparatuses, labor standards, and subjectivizing processes involved in the creation and use of other any other kind of digital media would fail to justify their equally exemplary status. Even the book’s concluding paragraph holds that virtual games “are one molecular component of this undecidable collective mutation” (Dyer-Witheford and de Peuter 229) of intellect, labor, and daily life. In the end, the authors seem to back away from their focus on games as exemplary to bring their work in line with broader theories of the gradual digitization of the everyday, in line with Galloway and Manovich. Despite these flaws, there is an undeniable elegance to Games of Empire ’s contrasting of gaming’s overwhelmingly imperial content with its multitudinous form . And its ambivalence about the potential of independent or political game development might be seen by scholars of Empire as a strength rather than a weakness, an acceptance that every new expression of multitude offers another opportunity for the expansion of Empire. The book also functions as a strong, all-encompassing call to greater responsibility on the part of mainstream game developers to be more conscious of the ideologies they embed in their work, of the way their intellectual property is used and manipulated by those who employ them, and of the material impact their industry has on the world at large. For players it offers a toolbox of concepts for radical examinations of their own play activities, asking them to be more cognizant of the consequences of their consumption of digital media and the ways in which their virtual lives interface with the real. REFERENCES Bogost, Ian. Unit Operations: An Approach to Videogame Criticism . Cambridge, Mass.: MIT Press, 2006. Castranova, Edward. Synthetic Worlds: The Business and Culture of Online Games . Chicago, Illinois: University of Chicago Press, 2006. Dyer-Witheford, Nick and de Peuter, Greig. Games of Empire: Global Capitalism and Video Games . Minneapolis, Minnesota: University of Minnesota Press, 2009. Galloway, Alexander. Gaming: Essays on Algorithmic Culture . Minneapolis, Minnesota: University of Minnesota Press, 2006). Wark, McKenzie. Gamer Theory . Cambridge, Mass.: Harvard University Press, 2007. (shrink)

The realist belief in the primacy of the world and its underlying structure answers the question ‘why is there something rather than nothing.’ The world, and all things contained in it exists because of God’s creative act. Personal death in Christian philosophy continues the gift of human existence by shifting that temporal existence into eternal life. The death and resurrection of Christ lays the foundation for the possibility of eternal life, while the will of God provides an answer to the (...) why of human existence. The aim of this paper is to examine the effects of the death and resurrection of Christ on the metaphysical strings of human existence. The phenomenon of human death takes place on the arms of consciousness and being’s unconcealment. The subjective correlate of human death is the irreversible loss of consciousness, while the objective correlate of human death presents as the infolding of the gift of existence, namely, of being’s unconcealment from consciousness. These correlates function as a dynamic unit to explain human death and resurrection. The attempt to justify a belief in the existence of life after death from the point of view of consciousness alone is dualistic and leads to several absurdities and confusions about the nature of the afterlife state. The explanation of the resurrection of Christ as a continuation of the dialogue between being and consciousness begun on earth avoids those absurdities while maintaining personal identity. (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the foundation (...) of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

The main theme of this article is the phenomenality. Jan Patočka’s asubjective phenomenology distinguishes itself by the description of the plan of phenomenality, where beings can appear and that is independent from everything which appears in it. Only by an universalization of the phenomenological epoché, it is possible to turn our eyes towards the phenomenality itself and to understand its independence. To put the theme of the world and the consciousness between brackets means to discover the structure of the (...) phenomenality, which is constituted by what appears, to which something appears and the way of appearance. The world is the transcendental field of appearance. Everything appears in the world. It is the whole, always given and opened to the human being. The subjectivity is a moment of phenomenality that presupposes the relation with the world. It has a role that makes it an “existence”. It is that to which something appears. Finally the way of appearance: the characters of the phenomenality are “objective mediators”. Mediators because they show the strings that build up the field of appearance, objective because wordly. What they show, even if in the darkness of the absence, is the relation with the world. (shrink)

The main theme of this article is the phenomenality. Jan Patočka’s asubjective phenomenology distinguishes itself by the description of the plan of phenomenality, where beings can appear and that is independent from everything which appears in it. Only by an universalization of the phenomenological epoché, it is possible to turn our eyes towards the phenomenality itself and to understand its independence. To put the theme of the world and the consciousness between brackets means to discover the structure of the (...) phenomenality, which is constituted by what appears, to which something appears and the way of appearance. The world is the transcendental field of appearance. Everything appears in the world. It is the whole, always given and opened to the human being. The subjectivity is a moment of phenomenality that presupposes the relation with the world. It has a role that makes it an “existence”. It is that to which something appears. Finally the way of appearance: the characters of the phenomenality are “objective mediators”. Mediators because they show the strings that build up the field of appearance, objective because wordly. What they show, even if in the darkness of the absence, is the relation with the world. (shrink)

The main theme of this article is the phenomenality. Jan Patočka’s asubjective phenomenology distinguishes itself by the description of the plan of phenomenality, where beings can appear and that is independent from everything which appears in it. Only by an universalization of the phenomenological epoché, it is possible to turn our eyes towards the phenomenality itself and to understand its independence. To put the theme of the world and the consciousness between brackets means to discover the structure of the (...) phenomenality, which is constituted by what appears, to which something appears and the way of appearance. The world is the transcendental field of appearance. Everything appears in the world. It is the whole, always given and opened to the human being. The subjectivity is a moment of phenomenality that presupposes the relation with the world. It has a role that makes it an “existence”. It is that to which something appears. Finally the way of appearance: the characters of the phenomenality are “objective mediators”. Mediators because they show the strings that build up the field of appearance, objective because wordly. What they show, even if in the darkness of the absence, is the relation with the world. (shrink)

This paper seeks to explain and evaluate, by an analytic method, the conflict between determinism and free will from the viewpoint of two physicalist reductionist philosophers, namely, Daniel Dennett and Sam Harris. Dennett is a compatibilist philosopher who tries to show compatibility between determinism and free will, while Sam Harris is a non-compatibilist philosopher who turns to determinism with the thesis that our thoughts and actions have been pre-determined by the neurobiological events associated with them, and thus, considers free will (...) to be an illusion. Therefore according to him, we are not the authors of our thoughts and actions. However, Dennett tries to establish the existence of free will through the use of concepts like control and deliberation and defends ‘free will worth wanting’. Therefore, if we take the agency of the agent and the absence of determinism as two criteria for free will, Dennett accepts both and Harris denies them; since there is neurobiological determinism, and all of Dennett’s deliberations, etc. are also determined neurobiologically. Between the two conditions of free will, Dennett accepts that the origin of action must be in the agent; however, he refutes the condition of alternate possibilities, establishing his view based on a causal theory. As a Neo-Darwinist, he explains human beings’ physical and mental phenomena based on evolution theory and despite accepting causal determinism, he shows how the agent can still have agency in decisions and actions. As a result, he does not consider determinism to requisite compulsion. In his philosophical system, one can change the future that has not yet taken place. This decision-making regarding the future takes place through the process of deliberation, which has a special place in Dennett’s view. On the other hand, by adhering to Libet’s neurological experiments, Harris refutes both conditions of free will and considers the cause of all human being actions to arise from activities of the brain and concludes that one cannot have any conscious control over one’s actions. As a result, he emerges as a non-compatibilist determinist. In both his works, The Moral Landscape and Free Will, Harris addresses the topic of free will. In Free Will, he criticizes the view of compatibilists like Dennett, who responds to those criticisms in his article, ‘Reflections on Free Will, Review of Sam Harris’ Free Will’. Like Harris, Dennett too addresses free will in his two important books, Elbow Room and Freedom Evolves. Following an analysis of the views of Dennett and Harris and explaining the criticisms of the two regarding each other, the present article will show that neither Dennett, considering the rest of the elements of his philosophical views in philosophy of mind and philosophy of action can well justify compatibilism, nor can Harris, considering his neurological approach defend his determinist idea. The conflict that is present in Dennett’s views causes his explanation of the agent being the origin of his action to also be indefensible. Furthermore, due to the incompatibility of the different elements of his view and the vagueness of his idea regarding the effect of unconscious intentions on action, Harris too is placed in a weak position. In contrast to Harris’ supposition, a human is not “a puppet [who] is free as long as he loves his strings”; rather, a human chooses, makes decisions and acts according to his own will. As a result, despite the objections that apply to both philosophers, Dennett’s view is more acceptable than Harris’ in terms of the effort to justify free will; even though neither have been apparently successful in defending their own ideas. (shrink)

The underlying claim of this essay is that we live in a multiverse, that is a universe of many universes that occupy the same space and time, not as an exotic excursion into the realms of science fiction, but as an everyday necessity that affects our social and economic interchange. Faced with such instability, the convenient way that this was managed was through an arbitrary division of labour that assigned the rational to the ‘real’ and the irrational to the ‘imagined’. (...) Recent speculation in cosmology and the science of consciousness studies has obliged us to reconsider the concept of reality as an ‘absolute given’ from which all laws can be verified. In string theory in particular, the dispute now hinges on the existence of ten or eleven dimensions in rippling membranes that discharge energy at the point of contact. In consciousness studies, similar models have appeared in order to embrace what might be understood as an apparent moment of enchantment essential to turn consciousness into awareness. The inevitable realization in scientific circles that the reality of the imagined has as an equivalent epistemological significance to the reality of the material, raises fascinating questions as it invites a sceptical reconsideration of the essential basis of knowledge and a revision of procedures. While the radical shift in scientific thought provides the moment of profound satisfaction for those artists, designers and scientists who have long argued for a transdisciplinary world-view, it also provides a moment of great challenge as we begin to consider how knowledge might be extended, codified and distributed in a multiverse, and begin to reflect on the relationships between text and world when any given world is only defined by the temporary consensus dependent on an arbitrary episteme. (shrink)

Simon Høffding’s book A Phenomenology of Musical Absorption (2019) contributes to a growing field of research focusing on the artist’s and performer’s experience, as significant for philosophical understanding of on the one hand expertise and skill-formation, on the other art and artistic practice. Høffding’s work is based on a qualitative study of the world-famous ensemble The Danish String Quartet, and has two purposes according to the author: first, to answer a question that arises when confronted with expert musicians’ descriptions (...) of their experiences: “Who is playing?” While deeply concentrated – absorbed – during rehearsal or performance, musicians have described the feeling of something else taking over: the body, the fingers, the instrument, the music. What kind of self is present in this experience and what kind of consciousness does the musician have of her own performance and of the musical work that is performed? Second, Høffding presents a phenomenological account of the experiences at issue, that is based on thorough empirical work and analysed with tools from phenomenology and cognitive science. While not mainly concerned with philosophical aesthetics, the musical work itself has an important role to play in answering these two questions. In the book, Høffding shows with wonderful clarity the value of listening to and analysing performers’ depiction of their experience, not only in order to provide a theoretical framework that can account for the particular experiences associated with expertise but also to prompt philosophical understanding of artistic/aesthetic experience, art and creativity. There are, however, certain problems with his account. One is the internal conflict between the idea that absorption can be experienced at any level of music making, and the claim that only professional experts can experience absorption in its stronger form, without giving a clear argument for this differentiation. Another is Høffding’s desire to present his work as a “paradigmatic case”, resulting in a certain lack of generosity vis-à-vis precursors and other scholars, and interpretations that are not always backed up by the interview material. In general, there are a number of unclear references and loose ends, that this reader would have wished to be worked out in detail. This being said, Høffding has uncovered a thought-provoking path that I hope will be continued. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 7.2 (2002) 194-196 [Access article in PDF] The Body Toxic: An Environmental Memoir by Suzanne Antonetta. Washington, D.C.: Counterpoint, 2001. Pp. 242. Hardback $26; paper $15.00. ISBN 1-5824-3209-0. Memoirs rely on the power of recollection to reproduce the inward texture of experience. Autobiographies cast their authors as historians of the self, combing through documents and old letters, checking facts. In her first prose work, the (...) accomplished poet Suzanne Antonetta crosses the boundary between memoir and autobiography. Interweaving the rough textures of memory with slick surfaces of corporate data, she gives us a lyric meditation on the struggle to become undeceived. Recounting both the facts of corporate malfeasance and our fantastic capacity to filter our reality, she captures the relation between failures of understanding and failures of responsibility. She shows us how difficult it is to accept an unofficial truth. The Body Toxic is a thoughtful and obsessively readable contribution to environmental ethics.Antonetta tells us of childhood exposure to toxic wastes in a penurious and neglected corner of Barnegat Bay. She writes in retrospect, with painfully acquired knowledge of cancer clusters and disease-ridden families. [End Page 194] Her own body's malformed reproductive organs, riddled with tumors, prove spectacularly and tragically infertile when quadruplets spontaneously abort. Sharp backward glances at childhood pleasures; crabbing, berrying, and running through the sweet-smelling spray of DDT, twist us around. Children of the 1960s trail through pesticide as if the weekly truck brought some poisonous ice cream. The mosquitoes thrived: what happened to the children? We revisit these scenes obliquely. Denzer-Schaefer empties its effluent into the bay, cost-efficient Ciba-Geigy rids their chemical wastes through a pipe running straight into the woods, the local farm has become an illegal toxic dump for an unscrupulous contractor. Fire at a nearby nuclear weapons silo has hapless firemen spraying radioactive water into the air. The government responds: they build a chain link fence around the site. A nuclear power plant of the 'old-school' emanates levels of radioactivity to rival Chernobyl. The plant managers assiduously cover it up. This is not some national catalogue of Superfund sites: all take place within a dozen or so miles of a childhood summer house in New Jersey. These shards of a case study are scattered throughout Antonetta's non-linear narrative, piecing together experience, cause and effect.But this work is more ethically and artistically ambitious than the artificial clarity of case studies. Powerfully, Antonetta shows us the inner tangle of toxic mental life: the depression, listlessness, confusion, and self-medication of barely cognized symptoms. Self-clouding toxicity affects both the body and the mind. She fears that she and other family members are not right in the head. How far can she trust herself, and how far can she trace the causes? Is it heredity? Is it toxicity? Has toxic exposure potentiated some family trait? She reads out strings of hazardous chemicals like a rosary, overdetermining all of her symptoms. The distance between cause and effect shields the guilty. Strong toxicity undermines the ability of its victims to understand and act. The Body Toxic is part case study, part phenomenology of altered consciousness, and all too human. A course in environmental ethics could make imaginative use of its insights into a wide range of anthropocentric concerns. Antonetta considers questions of environmental justice, religious beliefs about the natural order, environmental responsibility and property rights, nuclear risk, and cost-benefit analysis in multi-dimensional form, an entry point for philosophical reflection. The Body Toxic is stimulating, controversial, and beautifully written.Many great works of literature signal their ethical intent by fostering a sense of identification with their subjects or protagonists. Antonetta's deft [End Page 195] blunt portraiture expands our moral sensibility by showing us how to be concerned for people with whom we are not meant to identify. The story begins before the beginning, with Antonetta's immigrant family. They are strangely familiar and not entirely sympathetic people, isolated between first generation immigrant cultures and fantasies of prosperous America, clinging to islands of... (shrink)

Winner, 2020 Body and Embodiment Best Publication Award, given by the American Sociological Association Honorable Mention, 2020 Sociology of Sex and Gender Distinguished Book Award, given by the American Sociological Association How the female body has been racialized for over two hundred years There is an obesity epidemic in this country and poor Black women are particularly stigmatized as “diseased” and a burden on the public health care system. This is only the most recent incarnation of the fear of fat (...) Black women, which Sabrina Strings shows took root more than two hundred years ago. Strings weaves together an eye-opening historical narrative ranging from the Renaissance to the current moment, analyzing important works of art, newspaper and magazine articles, and scientific literature and medical journals—where fat bodies were once praised—showing that fat phobia, as it relates to Black women, did not originate with medical findings, but with the Enlightenment era belief that fatness was evidence of “savagery” and racial inferiority. The author argues that the contemporary ideal of slenderness is, at its very core, racialized and racist. Indeed, it was not until the early twentieth century, when racialized attitudes against fatness were already entrenched in the culture, that the medical establishment began its crusade against obesity. An important and original work, Fearing the Black Body argues convincingly that fat phobia isn’t about health at all, but rather a means of using the body to validate race, class, and gender prejudice. (shrink)

It is commonly held that implicit learning is based largely on familiarity. It is also commonly held that familiarity is not affected by intentions. It follows that people should not be able to use familiarity to distinguish strings from two different implicitly learned grammars. In two experiments, subjects were trained on two grammars and then asked to endorse strings from only one of the grammars. Subjects also rated how familiar each string felt and reported whether or not they used (...) familiarity to make their grammaticality judgment. We found subjects could endorse the strings of just one grammar and ignore the strings from the other. Importantly, when subjects said they were using familiarity, the rated familiarity for test strings consistent with their chosen grammar was greater than that for strings from the other grammar. Familiarity, subjectively defined, is sensitive to intentions and can play a key role in strategic control. (shrink)

This paper shows how the dream archive and search engine on DreamBank.net, a Web site containing over 22,000 dream reports, can be used to generate new findings on dream content, some of which raise interesting questions about the relationship between dreaming and various forms of waking thought. It begins with studies that draw dream reports from DreamBank.net for studies of social networks in dreams, and then demonstrates the usefulness of the search engine by employing word strings relating to religious and (...) sexual elements. Examples from two lengthy individual dream series are used to show how the dreams of one person can be studied for characters, activities, and emotions. A final example shows that accurate inferences about a person’s religious beliefs can be made on the basis of reading through dreams retrieved with a few keywords. The overall findings are similar to those in studies using traditional forms of content analysis. (shrink)

Secondary qualities are essential to sight, hearing, smell, and taste, and correspond to the sensations definitive of each sense. They are relative, first to which beings they appear to, secondly to the conditions under which they do so. Dispositionist analyses are examined, along with materialist, and rejected: the former because colour is predicable of after‐images, the latter because a disjunct of material properties in principle ‘found’ any secondary quality. While attributions to physical objects are relative, attribution to sensations are absolute: (...) sensations of red are absolutely, intrinsically, essentially red. ‘Red’ names the look predicable necessarily of the sensation of red and contingently and derivatively of much else. What is of central importance to the secondary quality, indeed the rationale behind the very concept, is that it is the only psychological phenomenon that can be an immediate material or external object of noticing. From this unique property, compounded with the psycho‐physical nomic situation governing its objectification, flows the special utility of the secondary quality. Namely, to take its place as material object for the Attention in an experience in which it simultaneously qualifies a whole string of causally interrelated items: sensation, light, surface, side, and object. (shrink)

John Gray, Professor of European Thought at the London School of Economics and the author of the book under review should not be confused with the John Gray who thinks that men are from Mars and women from Venus. Our man is a political philosopher, best known for a string of books on liberalism and a lot less sanguine about the prospects for humanity than his New Age namesake. In fact, perhaps on account of his earlieRAffection for Margaret Thatcher, (...) he concludes: ' Humanity does not exist. There are only humans . . .' . If Gray's reclassification of homo sapiens as homo rapiens and his ecological pessimism are right, humans are unlikely to be around for much longer either. John Gray, Straw Dogs: Thoughts on Humans and Other animals, London: Granta Publications, 2002, ?12.99, ISBN 1862075123. (shrink)

It is frequently claimed that panpsychism is unable in principle to generate evidence or predictions. After exploring how this impasse owes to panpsychism's commitment to brute physicalism, I argue that organismic panpsychism (OP) can retain this commitment and yet be empirical in principle. I then explore ways in which OP can be defended against a range of objections. These objections primarily relate to OP's metaphysics, its dependency on string theory, and its appeal to future states of science. Finally, OP's (...) ability to avert a worrying consequence of Russellian panpsychism is discussed. (shrink)